Toile, Postcards from Home, 2007
Postcards From Home
Photographs by Susan Harbage Page

To be Southern is to be irrevocably shaped by the rift of society along the line of
“race” that defines American modernity, consigning blacks and whites to different
physical and metaphorical spaces. Page’s photographs of contemporary versions of Ku Klux Klan hoods and robes in the series “Postcards from Home” (2007) defy social divisions. Like many others in this region, Page, who moved to North Carolina from Ohio as a child, has grown into being a Southerner, even as she retains some identification with the North and a deep familiarity with its own forms of racism. Although almost playfully ironic, an implicit violence shadows Page’s cryptic, if lush, photographs of Klan hoods sewn from contemporary fabrics. The disguise offered by such garments confers anonymity and a perverse sense of power upon the wearer.

In 2007, Page began to sew her own versions of Klan hoods and robes from colorful prints, rich velvets and corduroys, decorative toiles, and conventional blue oxfords. Modeled by friends and family, these costumes form the basis for visually seductive photographs that picture a brutal history, with effects in the present. Page’s photographs unsettle any sense one may have of moral superiority, for one can imagine oneself in the place of one of her models.

These works address the persistence of racism, which, protean in shape and guise,
remains socially and personally wounding as in the time of the Klan.8 Page stresses the
collective nature of Klan activities in communities where everyone knew each other,
even in disguise. By sewing the hoods and robes herself, Page roots public crimes in the
domestic spaces of women whose “virtue” male White Supremacists claimed to protect.
Their terrorism aimed to control the social mobility of blacks and the purported threats to
racial “purity” posed by miscegenation.

Essay by Laurel Fredrickson
http://www2.winthrop.edu/vpa/galleries/unint_relat.htm

Toile, Postcards from Home, 2007

Wal-mart Bags, Postcards from Home, 2008

Blue Oxford (close-up, Postcards from Home, 2007

Red Carnation, Postcards from Home, 2007

Brown Corduroy, Postcards from Home, 2007

Camouflage, Postcards from Home, 2007
Blue Oxford, Postcards from Home, 2007

Blue Jeans, Postcards from Home, 2008

Gold Lame, Postcards from Home, 2009

Plaid, Postcards from Home, 2008

Seersucker, Postcards from Home, 2008

Silk with pearl teardrops, Postcards from Home, 2009

Pink Embroidered Veil, Postcards from Home, 2009

Pink Silk with Embroidered Flowers, Postcards from Home, 2007

Grey Suite and Princess Fabric, Postcards from Home, 2010

Pink Silk with Stripes /Flowers, Postcards from Home, 2007

Plaid, Postcards from Home, 2008

Medical Masks, Postcards from Home, 2010

Invisible Veil, Postcards from Home, 2010

Silk w Pearls/Sequins, Postcards from Home, 2010

Purple and Red Silk, Postcards from Home, 2010

Tie-Die, Postcards from Home, 2010

English Garden Toile, Postcards from Home, 2010














Congrats to Ana Martinez for her new publication. She includes my work in Chapter 14 Relics, Artifacts, and Bones: Activating Migrancy's Traces Through Performance.

Link to the Book is here. 

https://www.routledge.com/Puppet-and-Spirit-Ritual-Religion-and-Performing-Objects-Volume-II-Contemporary-Branchings-Secular-Benedictions-Activated-Energies-Uncanny-Faiths/Orenstein-Cusack/p/book/9780367713799?srsltid=AfmBOopkns5VJkGs_3s6pRYiU17jbVE2DrfDTwSIE60jfMR14Arcdx5L

..........................

Thanks to Ana for highlighting this important subject.

SHIFTS - 2022

Shifts - A conceptual series of photographic self-portraits thinking about bordering and bodies.

The painting is gouache on old maps I found at a flea market in Italy. I took the maps apart and rearranged them into this borderline.....blue references water for me in this work and the black interrupted line the traditional marking on a map for a border or division of some sort. I have also been thinking recently about "The Commons" and how that historically existed.

Close to Home (November 19, 2024 – March 23, 2025) is a celebration of CAM’s collection featuring works by artists with a connection to our state, our region, and our home. Join us as we explore images of people and places that evoke the varied spirit of our community. Hidden treasures join beloved familiar works in a showcase of artistic voices, a collective search for the meaning of home.

Bridging Borders, July 17, 2023, Spello, Italy

We spoke on the phone and did some planning but Tamara Soldan and I had only one day in person before our performative collaboration to finalize what we were going to do. We gathered voices from friends and colleagues talking about borders in their lives prior to coming together. 

I wanted to know what people thought about borders and what exactly the word border meant to them.

Congrats to the McColl Center in Charlotte, North Carolina. I was so fortunate to have many ties to the McColl Center through a residency, exhibitions, and leading/teaching workshops through the Innovation Institute. It is a place of community, dialogue and a commons for the arts.

Standing Performance (2005-2023)

Standing on a very narrow history of patriarchal art that many of us grew up on. 

This collection of H.W. Janson's "A History of Art" books is the last thing left in my office before I retire. Coincidentally, my office was previously a women’s dorm room at UNC. I used to use these books in a performance designed to deconstruct art history on the first day of my Women and Gender in Contemporary Art Course.

Susan Harbage Page Wednesday, November 8th, at 7 pm EDT on Zoom Join us for a dynamic and exploratory conversation with Susan Harbage Page as she shares more than 15 years of meditations and explorations on the U.S.-Mexican border. As a socially engaged citizen Susan Harbage Page uses a variety of media including photography, performative interventions, sculpture, video, works on paper, and more.

New Exhibition Catalogue out. Published for the exhibition Susan Harbage Page: Embodied Cartography in Terretorial Disputesat Davidson College fall 2022. The exhibition was curated by Director of Davidson College Art Galleries, Lia Newman and includes essays by Ana L.
Contact Info
Contact Info
susanharbagepage@gmail.com
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